Norwegian Woods (OT)

For those who are confused on the time frame of what this is representing, it's not necessarily "Vikings," and more or less not Neolithic.

It's Proto-Germanic she's singing here, and in most of their music. It's Pre-Migration Period, 600 years before the Vikings, ~1st Century CE til ~550 when Elder Futhark broke into Younger Futhark. It's based on historical linguistic reconstruction and snippets of text found archeologically and through Tacitus & Saxo Grammaticus, some of which were carved in runes on bone fragments, or described pejoratively by Latin writers, who described the throat singing as like "howling dogs," when it would sound provisionally like in this video, inferred by the Sammi & Hunnic traditions which survived the ages relatively unchanged.

Then they kinda do this English language "rap," which is based on descriptions of Galdralag and Seiðalag -- no surviving examples of which exist outside of very, very scant snippets in the Poetic and Prose Edda, and in descriptions by Saxo Grammaticus and possibly by Tacitus. The low growling and hissing, the forked fingers, is based on descriptions of Seiðr magic. That kind of image survived in the inspiration of "witches" which Christians were terrorized by, who were real people practicing a similar indigenous artform, and came to become an abstracted meme of its own that evolved & mutated into the 21st century.

Harald "Bluetooth" Gormsson (Old Norse: Haraldr Gormsson, Danish: Harald Blåtand Gormsen, died c. 985/86) was a king of Denmark and Norway.

He was the son of King Gorm the Old and of Thyra Dannebod. His father had been the first ruler of the Danish kingdom and founder of the Jelling dynasty. Harald ruled as king of Denmark from c. 958. Harald introduced Christianity to Denmark and consolidated his rule over most of Jutland and Zealand. Harald's rule as king of Norway following the assassination of King Harald Greycloak of Norway was more tenuous, most likely lasting for no more than a few years in the 970s. Some sources say his son Sweyn Forkbeard forcibly deposed him from his Danish throne before his death. He is thought to have crossed Rugen during his escape.

A team of young architects based in Copenhagen has won first prize for a museum competition in Norway. Their proposal for a new Museum of Forest Finn Culture (Finnskogens hus) in Svullrya, Norway was chosen from 203 entries in the fourth largest architectural competition in Norway to date.

The international team is composed by architects Juráš Lasovský (Czech Republic), Filip Lipinski (Sweden), Hanna Johansson (Sweden) and Andrea Baresi (Italy).

The playful column facade gives the building a unique expression, especially during the dark hours of the day when the light from the inside trickles through the forest of columns and light up the surrounding landscape. When you approach the building, the entrance will appear as a glade through the forest and lead you into the reception area, café and library.

Light filtered through the ceiling is a reference to the Forest Finns building technique where smoke was ventilated out through a smoke hatch in the ceiling. Finnskogens Hus is a simple building that in many ways are relating to the Forest Finn Culture with its direct relation to the forest. Wood is present in both structural elements and interior spaces, where for example burnt wood is present to tell a story about the slash-and-burn cultivation in the Forest Finn Culture.

Hans Børli (1918-89) was born and lived in the wooded county of Hedmark in south eastern Norway. He was the fifth of seven children born to Nils Thorkildsen Børli (1883–1951) and Marie Bolette Olsdatter Børli (1881–1962). Børli was raised on a small farm in a road-less area in the forests of Eidskog Kommune.

Børli was considered a gifted boy and was admitted to Talhaug Mercantile School in Kongsvinger. He later was admitted to a military academy in Oslo, but his education was ended by the outbreak of the Second World War. Børli fought against the invading German Army, was involved in some intense battles in Vardal, and was captured in Verdal. After being released, he went back to Eidskog and worked as a teacher and forest worker for the remaining of the war. During the Occupation of Norway by Nazi Germany, he was also involved in illegal activities including guiding refugees across the Swedish border.

His experience of poverty and hardship would leave a deep imprint on his later art. However, the positive effects of living close to nature, the wisdom of tradition and the solidarity between workers also had a significant bearing on his writings. A strict Christian pietism upbringing would leave Børli forever struggling with the counteractive forces of rebellion and a deeply embedded sense of religious longing.

His days seem to have been divided into two separate parts: by day, he lived the physically demanding life of a lumberjack, but by night, he turned poet and spent the still, dark hours writing. His days, however, were an enactment of his poetry. Borli's verse is alive with his experiences of the Norwegian forests - with the moods of sky and water, with the creatures that moved in air and woodland, and with the trees themselves. Sometimes lonely or even mystical, some of his finest poems bite deep like the blow of an axe.

His first collection of poetry, Tyrield was published in 1945. Until the mid-1950s, he published books almost annually, both poetry and prose. Ole Gundersen Børli (1860–1945), his mother's father was considered one of the last great oral narrator of legends and stories of the area. He was considered an important influence on the young writer-to-be. Hans Børli was by his own account also heavily influenced by the writings of poet Olav H. Hauge (1908-1994).